Bwogger Armin Rosen admits that this brief survey of people with the same name as other people who happen to be Columbia professors is random as hell, but bear with him.
I've never read Dostoevsky's The Double, but I assume the story goes a little something like this: a successful English professor is wrongfully accused of his wife's murder, only to wake up in the body of a mid-decade, D-list sitcom actor, who finishes his PhD in English only to be wrongfully accused of his wife's murder and wake up in the body of a mid-decade, D-list movie actor. What's that, commenter: what I'm actually describing is a thinly-veiled cross between Lost Highway and Groundhog Day? Read a book, my friend: with this whole "postmodernism" thing, anybody can be anything, ever. Everything is relative! The author is dead! And Columbia professors lead strange double-lives within the bodies of other people! Sound like a Spike Jonze movie? Well maybe it should be--"Being Jeffrey Sachs" sounds like the surprise hit of 2008.
David Helfand
The man who introduced a generation of Columbia undergrads to the wonders of science (and a PhD student to the horrors of...well, the horrors of err, dancing with the man who introduced a generation of Columbia undergrads to the wonders of science) might not believe in God, but he sure believes in making great television. Proud owner of Columbia's most accomplished doppelganger, Helfand went from producing overrated network garbage (sorry, "Friends" fans), to editing underrated, subscription-only works of television genius. Were his two sides merged, Helfand would be the only untenured senior faculty member ever to win a CableACE award.
Bruce Robbins
Back in the early 90s, when everyone thought the hot-shot Rutgers professor was writing catchily-titled theoretical harangues like "From Epistemology to Society" and "Death and Vocation: Narrativizing Narrative Theory," Brucie was up to a little narrativizing of his own—remember Darnell from "The Hat Squad?" Y'know, the character that kept on...well, I actually have no idea what that character kept on doing, only that this apparently bifurcated identity operating on multiple levels of physicality and temporality in a trans-historical socio-cultural sphere, is proof that Robbins knows how to get down with his bad, postmodern self.